Writing the Urals: Permanence and Ephemerality in Ol'ga Slavnikova’s 2017

dc.contributor.author

Sutcliffe, Benjamin

en_US

dc.date.accessioned

2011-05-04T19:22:45Z

en_US

dc.date.accessioned

2013-07-10T15:10:00Z

dc.date.available

2011-05-04T19:22:45Z

en_US

dc.date.available

2013-07-10T15:10:00Z

dc.date.issued

2011-05-04

en_US

dc.identifier.citation

New Zealand Slavonic Journal, vol. 41 (2007).

en_US

dc.identifier.uri

dc.identifier.uri

http://hdl.handle.net/2374.MIA/4421

en_US

dc.description.abstract

Ol'ga Slavnikova’s novel 2017 (Vagrius, 2006) made her the second
woman to win Russia’s coveted Booker Prize, garnering conflicting critical
responses in the process. Many hurried to label the narrative a dystopia:
2017’s last hundred pages depict the centenary of the November ‘revolution’,
chronicling how crowds commemorate
the event by dressing up as
Reds
or Whites and slaughtering their
enemies
(Chantsev 287; Eliseeva 14).
Other critics, and Slavnikova herself,
see dystopia as only one strand in
the work (Slavnikova
‘Mne ne terpitsia’,
18; Basinskii 13).

en_US

dc.title

Writing the Urals: Permanence and Ephemerality in Ol'ga Slavnikova’s 2017